After studying harpsichord with Harald Hoeren in Frankfurt am Main and Siebe Henstra in Utrecht (solo diploma 1994), Carsten Lorenz specialized in baroque playing bass general with the famous Jesper B. Christensen in Lyon and Basel Schola Cantorum Basiliensis. In 1992 he was a semifinalist in the Concours Musica Antiqua Brugge and in 2001 a finalist in the “Erwin Bodky Competition for Early Music Soloists” (Boston).
In addition to his active artistic activity, he has been teaching harpsichord and basso continuo at the Staatliche Musikhochschule in Trossingen since 1997, and since 2014 he has been a university professor at the MUK University in Vienna in Vienna. He also taught at the Landeskonservatorium für Vorarlberg in Feldkirch, at the Evangelical Church Academy of Music in Tübingen and at the University of Music in Würzburg. In addition, it takes care of young keyboard players from the Baden-Württemberg State Baroque Youth Orchestra.
Carsten Lorenz performs as a soloist, but also as a chamber ensemble player (among others with François Fernandez, Philippe Pierlot, Lorenzo Duftschmid or “his” own ensemble Il Bacio d’Amor). He is also a member of renowned baroque orchestras (L’arpa festante, armonico tributo austria) and can be heard in many European music centers: Vienna (Musikverein), Linz, Innsbruck (Festival of Early Music), Dresden (Kreuz- und Frauenkirche), Stuttgart ( Stiftskirche), Brussels and Copenhagen, Rheingau Music Festival, Bodenseefestival & Festival Alte Musik Knechtsteden and many more.
Numerous radio and CD productions attest to his wide range of styles, from early 17th century church music – the first recording of Carl Filago’s “Spiritual Symphony” (Ramée 2008) or Antonio Cifras’ Vesperae Lauretanae (Deutschlandfunk 2009) – to Italian original sonatas basso continuo (affetti italiani 2000, SWR 2002) to late baroque chamber music by Telemann or Handel (SWR 2009).
His great love – in addition to his family – is the extremely subtle expressiveness of the clavichord and the “earthy” power of music from the second half of the 17th century.